BY STEVEN DIETZ DIRECTED BY JOHN LANGS - Oct 18-Nov 17 - Encore Spotlight
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FALL 2019
Oct 18–Nov 17
BY STEVEN DIETZ
DIRECTED BY JOHN LANGS
MFA IN Fall 2019 | Volume 16, No. 2
ARTS LEADERSHIP
In This Issue
Feature
3 ‘Indecent,’ or What it Means
to Create Queer Jewish
Theatre in Seattle
Dialogue
9 Meet the Host of Tiny Tots
Concert Series
13 We’re Celebrating 50 Years
Empowering a new wave of Arts, Culture and
Community
of socially responsible Intermission Brain
arts professionals Transmission
12 Test yourself with our
Online and in-person trivia quiz!
information sessions
Upcoming Events
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15 Fall 2019
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2
FEATURE
The cast of Indecent in
rehearsal at Seattle Rep.
‘Indecent,’ or What it Means to Create
Queer Jewish Theatre in Seattle
by DANIELLE MOHLMAN
When Indecent opened at Seattle Rep on September 20, Indecent, which was the seventh-
it marked a pretty significant first: the first time this most produced play in the country
during the 2018-19 season, accord-
theatre has produced a play by Paula Vogel. Vogel, ing to the Theatre Communications
who’s arguably one of the most prolific and produced Group—and is likely to remain in
the top ten this season as well—
contemporary playwrights of our time, has been seen in explores the storied production
recent years at Taproot Theatre Company (A Civil War history of Sholem Asch’s God of
Christmas: An American Musical Celebration, December Vengeance. Vengeance, which was
first read at a salon in Poland
2017) and Strawberry Theatre Workshop (How I Learned in 1906, was met with fear and
to Drive, June 2018). But as I combed through Seattle animosity from the start. The
Jewish patrons of the arts in Poland
Rep’s production history, it became more and more clear refused to support a play that
that Paula Vogel’s Seattle Rep debut is long overdue. showed Jews behaving immorally—
communing with prostitutes and
desecrating the Torah, to start.
In an imagined meeting between
ANGELA NICKERSON
stage manager Lemml and play-
wright Eugene O’Neill, one that
alludes to O’Neill’s actual defense
of God of Vengeance in an obscenity
encorespotlight.com 3
The cast of Indecent in
rehearsal at Seattle Rep.
case, Vogel writes, “They’re gonna those who feel wayward—as “Why must every Jew onstage
claim they’re closing it because they grow into their best self.” be a paragon?!!” Asch exclaims,
of Homosexualis. That’s bunk. Temple Beth Am is c onsidered angry at the very suggestion.
They’re closing it because the a Welcoming Synagogue, meaning Rabbi Benson shared that
play shows that every religion— they’re not only actively c reating this conversation surrounding
even Jews—sell God for a price.” inclusive space for LGBTQIA+ “immoral” Jewish characters being
Because, you see, God of Vengeance folks, they’re also striving for a considered anti-Semitic is still
was the first Broadway play truly diverse leadership—from very much alive today. “I think
to feature a romantic scene the synagogue’s staff and board it’s less about anti-Semitism as
between two women. to their student leaders. Rabbi it is about portraying other Jews
Rabbi Dana A. Benson, director Benson admitted that there’s badly,” Rabbi Benson said. “There
of youth and family learning at still work to do, but that Temple is this concern about how we are
Temple Beth Am and an avid Beth Am is committed to putting portraying ourselves because it
theatre fan, was kind enough to in that work every day. may not be u nderstood outside our
speak with me about the themes One of the central plot points own community. I think this goes
of Indecent and what it means to of Indecent is that the Jewish back to, you know the reference
have queer Jewish representation gatekeepers in early 1900s theatre in Wet Hot American Summer, and
onstage at Seattle Rep. Because refused to support Sholem Asch jokes that are missed and jokes
so much of the play is about on God of Vengeance’s production. that are in-group and the way
identity, we began with hers. Not only did they disapprove of that they’re coded for us to see or
“Ultimately, if we wanted to the female love interests—a hear. Or Larry David’s character in
go along the Game of Thrones moment played for laughs in Curb Your Enthusiasm—or Seinfeld.
lines of naming ones identities Vogel’s script as the men in the At what point is it humorous? Is it
as part of a title,” Rabbi Benson initial 1906 salon reading keep fun? Is it a laugh that’s both in-
said, “mine might read: Rabbi refusing to read the female group as well as transcendent?”
Dana Benson, Hufflepuff, soft roles—they were scandalized by Rabbi Benson thinks that the
Butch, partner of roller derby the final moment of the play: a modern concern of any one Jewish
playing librarian, daughter of desecration of the Torah. And character’s portrayal is more about
Jewish-Hungarian lineage, child while Asch’s contemporaries it being “bad for Judaism.” “I
of compassionate and kind par- are certainly pleased that he’s shouldn’t speak on behalf of the
ents, singer of Broadway, creator w riting Jewish plays—and in Jewish community,” Rabbi Benson
ANGELA NICKERSON
of spiritually accessible learning Yiddish!—they cannot bring said, “but I still think there is
opportunities, hoper for a better themselves to support t heatre still this sense of p
ressure, with
world, and willing mentor and where Jews are portrayed as none of us wanting to do some-
guide for all learners—especially anything less than perfect. thing that would reflect badly on
4
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The cast of Indecent in
rehearsal at Seattle Rep.
the Jewish people. That’s very love in Indecent, which is a complex
“This play now much true of our tradition.” and beautiful lens that honors any
Andi Alhadeff, who plays community you view it through.”
because of Chana, and Cheyenne Casebier, Alhadeff shared that exploring
our current who plays Halina, were at the
very beginning of their rehearsal
the emotional center of the play—
the relationship between Chana
administration’s process when we spoke about the and Halina and the many forms
central themes of Indecent. But it it takes—has been the easiest
abhorrent human was clear that the play had hit a part of the entire process. She
rights policies. v isceral chord for both actors.
“I love that this play celebrates
credits the safe rehearsal room
and the respect of her fellow cast
This play now community, love and risk,” Casebier members. “I feel seen and cared
said. “It speaks to different forms for by my colleagues,” Alhadeff
because it is full of persecution and loss—and being said, “and that is a formula for
of love. This play the other. We couldn’t be more
ready, as both a culture and society,
the precious and ordinary kind of
magic that is human connection.”
now because we to share and listen to this story.” Director Sheila Daniels was
When Alhadeff first encountered initially drawn to Indecent because
need to remember.” the play, it felt like the stories these of the inherent theatricality of
characters were telling already lived Paula Vogel’s world. Daniels
—Sheila Daniels deep inside her bones. “On top of loved the way Vogel played with
being one of the most hauntingly epic scope and deeply intimate
stunning plays I have ever seen or moments. When I asked her why we
read, there was something about need this play now, she was ready
this show that simply felt as though with an answer: “This play now
it was a part of me,” Alhadeff because of our current adminis-
said. “As a Jewish woman, I can tration’s abhorrent human rights
certainly speak to the importance policies. This play now because
of representation of Jewish stories, it is full of love. This play now
particularly ones that move away because we need to remember.”
from creating caricatures of obtuse When I asked her what it meant
ANGELA NICKERSON
archetypes or solely hold up our to create queer Jewish theatre in
scars and our history of tragedy. Seattle, Daniels responded that
There is so much joy in what it is it means everything. “I teach,”
to move through different layers of Daniels said, “and to know students
6
of mine who inhabit one or both
of those identities will get to
see themselves onstage makes
me proud to be a part of it.”
In preparation to direct this
play, Daniels went to Poland on
a research trip. A significant
amount of Indecent takes place in
the Bałuty district of Łódź and
Daniels was fortunate enough to
spend a day with two locals there.
“We ended that day at Radegast
station where they have a replica
of a train car the exact size they
shipped people in,” Daniels said.
“They were tiny. The scope of what
all of humanity lost when we lost
so many souls in the Holocaust.”
But Daniels brings intangible and
unexplainable moments into the
Indecent rehearsal room too, like
her walk through Auschwitz. “I
can feel the ashes beneath my feet
just sitting here,” Daniels said. Wholesale and Retail Sales
The play begins with ash spill- ¿
ing out of the actors’ sleeves, a Roasting fine coffees since 1993
moment that Daniels sees as a
reawakening. When she read that
stage direction for the first time,
she was transported back to a
moment thirty years ago, feeling 400 N 43rd St. Seattle, WA. 98103
the ash of her grandparents— ¿
feeling life sift through her hands. 206-633-4775
When I brought up this moment LIGHTHOUSEROASTERS.COM
in the play with Rabbi Benson,
encorespotlight.com 7
The cast of Indecent in
rehearsal at Seattle Rep.
she turned to a quote from the
Talmud, the body of Jewish law.
“Rabbi Simcha Bunim said to one
of his students ‘You should always
keep two pieces of paper, one in
each pocket,’” Rabbi Benson para-
phrased. “‘The first should say The
world was created for my sake and the
other should say I am but dust and
ashes.’ And that’s to always remind
us to live somewhere between
humility and divinity. If we live in
that balance, perhaps we can offer
a little more kindness to the world.”
Indecent runs September 20 to October 26
at Seattle Rep. Tickets are available online at
seattlerep.org or by calling the box office at
(206) 443-2222.
Encore Spotlight: Your backstage
pass to each performance. Danielle Mohlman i s a Seattle-based
encorespotlight.com playwright and arts journalist. She’s a
frequent contributor to Encore, where
she’s written about everything from
the intersection of sports and theatre
ANGELA NICKERSON
to the landscape of sensory-friendly
performances. Danielle’s work can also
be found in American Theatre, The
Dramatist and on the Quirk Books blog.
8
John Langs Becky Witmer
Artistic Director Managing Director
ACT – A Contemporary Theatre presents
by Steven Dietz
From the novel by Bram Stoker
Directed by John Langs
Beginning October 18, 2019
• Opening Night October 24, 2019
CAST
Avery Clark*† John Seward
Khanh Doan* † Mina Murray
Lindsay W. Evans*† Maid, Vixen, Attendant
Basil Harris* Renfield
Claudine Mboligikpelani Nako*† Lucy, Fight, Movement, and Puppet Captain
Brandon O’Neill*† Count Dracula
Arjun Pande Jonathan Harker
Rachael Beaver Cellist, Additional Music Composition
CREATIVE TEAM:
Matthew Smucker Scenic Designer
Deborah Trout Costume Designer
Andrew D. Smith Lighting Designer
Robertson Witmer Sound Designer, Composer
Geoffrey Alm Fight Director
Judith Shahn Dialect Coach
Shelby Adele Rogers Hair and Make up Designer
Lily Mcleod Assistant Lighting Designer
Julieta Vitullo Dramaturg
Erin B. Zatloka* Stage Manager
Ruth Eitemiller* Assistant Stage Manager
Corynn Carignan Stage Management Intern
Rey Zane Kenan Directing Fellow
* Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
† Members of ACT Core Company
Running time: This performance is approximately 90 minutes. There will be no intermission.
ASL interpreted performance: November 4th at 8:00pm.
Dracula was originally produced by the Arizona Theatre Company, Tucson/Phoenix, Arizona.
David Ira Goldstein, Artistic Director; Robert Alpaugh, Managing Director.
The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings on any medium,
including the internet, is strictly prohibited, a violation of the author’s rights, and actionable under United States Copyright Law.
SHOW SPONSORS:
Morgan Fund at
The Seattle Foundation
THEATRE AND SEASON SPONSORS: IN-KIND AND MEDIA SPONSORS:
A Contemporary The Norcliffe Katharyn Alvord
Theatre Foundation Gerlich
Foundation
encorespotlight.com A–1
WELCOME
to ACT
A Note from Artistic Director, John Langs
John Langs
PHOTO BY TRUMAN BUFFET
We’re here tonight because of a story so and zapped it all with his own narrative flare to
irresistibly compelling that it has endured through animate a fictional character of such force that
many centuries, countries, and incarnations to arrive he seems always to have existed in our collective
at ACT in a powerful new iteration by Steven Dietz. imagination.
Bram Stoker’s 1897 gothic novel established As times change, our insight into the possibilities
Dracula as the most mesmerizing supernatural of Stoker’s story and its characters change too. Even
villain ever to swoop through the dark corners of in 1897, Victorian ideas of male and female roles were
our imagination. But he didn’t come out of nowhere. shifting. When Steven Dietz began to reinvestigate
From the beginning he was there in the shadows the novel as a playwright to find its resonance for a
waiting to be found, a piece at a time, and assembled 21st century audience, the character of Mina began to
into being by Stoker’s magpie mind. assert herself immediately, advocating in draft after
In the 1890s, Stoker was working for London draft the clarity of her purpose and the proactive
stage star Henry Irving as business manager of his courage of a character often reduced to a helpless
Lyceum Theatre. It’s likely that Stoker’s first whisper victim.
of inspiration came from Hungarian traveler and As a director, my imagination was captured
folklorist Armín Vambéry at one of Irving’s regular by the idea of retelling this story as a kind of dark
post-show gatherings. From Vambéry, he heard of ritual. In Indonesia, I once attended a ceremony that
the bloody history and dark legends of Transylvania left a huge impression on me: a dancer performed
and the Carpathian mountains, and Stoker—a lover of in a state as close to religious ecstasy as I’ve ever
scary stories since his sickly childhood—was caught. witnessed, finally drawing a blade and piercing their
At the London Library he researched the brutal own flesh, a release that lifted the other performers
career of Vlad Tepes, a 15th century Romanian and the audience into an entirely different realm of
warrior-king known affectionately as “The Impaler”, experience. We’ve tried in this production to capture
for his favorite mode of vengeance on those who a similar power that will thrill as well as entertain,
opposed or betrayed him. Violent times bred violent satisfying all comers: those who are lovers of the lore
men, but Vlad was in a class by himself—one account and legend; those drawn by the power of the myth;
confirms an initimidating 20,000 impalements at one and those ready to see this story take flight again in
go. It was his nickname, though—from the medieval a contemporary context.
Romanian for “Dragon”—that really sparked Stoker’s Welcome to the nightside. Enter freely and go
creative flame: Dracula. safely.
Stoker combined Vlad’s name and exploits with
Vambéry’s lurid tales of the undead; borrowed an
arresting appearance and charismatic, manipulative
personality from his boss (Irving was not amused);
encorespotlight.com A–3A Note from
Managing
Director
BECKY
Becky Witmer
WITMER
PHOTO BY TRUMAN BUFFET
Welcome to Dracula, our closing
production of the 2019 Mainstage Season!
As the skies darken early and the wind and
rain return, it feels like a great time to settle
in for a timeless thriller!
This time of year is also when our gratitude
meter is at its high point. Thank you to our
season ticket holders and ACTPass members
who have been with us for the journey.
Through your engagement with the stories
and characters on our stages, we’ve had great
conversations about local and global issues
in 2019.
We want to give a shout-out to our
community partners who have joined us for
dialogues, educational opportunities, in
conversations with our staff and board, and
who have participated in discussions with our
audiences to dive deeper into the themes of
our 2019 season.
We’re grateful to the artists who give their
all to the Mainstage, ACTLab, Core Company,
and Young Playwrights Program. Our region
is better because we have artists who create,
innovate, and share their talents. ACT is
unique and artistically ambitious because of
the talents you share with our community.
And finally, we couldn’t achieve our
mission without the support of the people and
organizations who donate to ACT. Ticket sales
cover just 60 cents for every dollar it takes to
make ACT Theatre possible. With a $6 million
budget, that means we need to fill the balance
of those dollars with help from the community.
Forty percent of our annual budget comes
from donations that help make ACT’s art and
education programs affordable and accessible.
In this time of giving, thank you in advance
for thinking of ACT. We’ll turn your gift into
a meaningful and memorable life experience!
Please join us for the holidays and
make plans to come back for next year’s
banner season celebrating 55 years of ACT –
A Contemporary Theatre!
Warmly,
A–4 ACT – A Contemporary TheatrePhoto by Alexander Sidorov ©
What draws us to
HORROR?
It all starts with
FEAR.
Fear is the ANTICIPATION that something is about to occur, and the
ANXIETY that it’s going to be terrible. It is a part of our basic biological
makeup. Fear keeps us alive and competitive as a species by making us
cautious of the UNKNOWN, fearful of PAIN, and afraid of DEATH.
On a larger scale, fear protects us from the BREAKDOWN of SOCIETY
and CULTURE by reinforcing behaviors that are biologically advantageous –
making us wary of OUTSIDE THREATS and establishing prohibitions against
socially deviant acts such as MURDER and INCEST.
When the things we fear actually HAPPEN, we experience HORROR –
the dark REALIZATION and subsequent REVULSION that the world is now
fundamentally, shockingly, and permanently altered.
Despite all of this unpleasantness, we enjoy the HORROR genre because
it is equally CONFORMIST and SUBVERSIVE:
• It is a TEST of COURAGE.
Text Courtesy of MoPoP, Seattle
• It reinforces SOCIETAL ROLES and easily digestible notions of
GOOD and EVIL.
• It allows us to SAFELY experience TABOO subjects.
• It creates a rush of HEIGHTENED EMOTIONS.
• It reflects our DREAMS and NIGHTMARES.
encorespotlight.com A–5STEVEN DIETZ
Steven Dietz
Playwright’s Note
PHOTO BY JOHN ULMAN
I write to you from the midst of an enormous surprised and humbled to say—was an adaptation
shadow. It is a shadow cast by history and fate, that continues to be performed across the
legend and myth. It is a shadow that has hovered country, twenty-five years later. But as it turns
over literature and popular culture for over a out: Bram Stoker was not done with me. With the
hundred years. It is the shadow of Bram Stoker’s encouragement and support of John Langs at ACT,
Dracula. I returned to the story once
Dracula survives (and again. And this time I found a
continues to be the Rosetta
Stone of vampiric literature)
“Are we complicit in young woman - Mina Murray
- who refused to be simply
because of its audacity. It is the creation of evil? Dracula’s innocent Victorian
a story that is not content Are we blind to the bride. This time Mina was not
to deliver just one genre or content to have the men in the
narrative style. Like the Count beasts within us? play discover the truth, detect the
from Transylvania which it Does love endure motive, plot a course of action,
celebrates, the reach of Stoker’s
novel is fully omnivorous: it is
or does it devour?” and vanquish the perpetrator.
This time Mina was both
a mystery of detection, a horror Dracula’s intended victim and
story, a morality play, a social Dracula’s foremost adversary.
critique, and a psychological thriller all at once. This time—in 2019—Mina is on a quest.
The character of Dracula is not a metaphor; he is It is my great privilege to launch this new
a brilliant, endless, seductive, fanged beast plotting adaptation with Seattle’s great artists and its
to suck the blood from your throat. However, the adventure-hungry audiences. I believe great
flawed certainties of Dracula’s victims—that Faith communities like ours are founded on both
will protect, that Science will discover—produce passions and myths. Stoker’s Dracula invites
a banquet of metaphorical questions: Are we us to indulge both: the restless passions of love,
complicit in the creation of evil? Are we blind to intimacy, secrecy; the enduring myths of what
the beasts within us? Does love endure or does awaits us on a darkened night, when the moon
it devour? is full and the wolves are howling.
In 1994, I made my first attempt to bring this
iconic novel to the stage. The result—I remain Steven DietzWho’s Who in Dracula
CAST Macbeth, Julius Caesar (Wooden O); The Claudine
Talented Ones (Artists Repertory Theatre, Mboligikpelani
Rachel Beaver Portland); You for Me for You (Portland Nako (Lucy)
(Cellist) Rachael Beaver Playhouse). Claudine is an actor,
is a cellist, vocalist, director, writer,
and composer from
Lindsay W. Evans teaching artist, and
(Maid, Vixen, choreographer in
Dallas, Texas but has
Attendant) Lindsay the Seattle area. She joined ACT Theatre’s
called Seattle her
is bloody thrilled Core Company in 2017. Claudine was most
home for nearly 26
to be back at ACT, recently seen on stage as Rosalind in Seattle
years. Along with a steady career of bands
creating with this Repertory Theatre’s critically acclaimed
and orchestras, she has become a solo
incredible ensemble! musical production of As You Like It. Nako
artist, mixing many genres, including rock
She has previously appeared on ACT stages is a two-time Gregory Award Winner for
and R&B.
in Romeo + Juliet, Tribes (Gregory Award Outstanding Lead for her work in Little Bee
Avery Clark (John nomination, supporting performance), (Book-It Repertory Theatre) and My Heart is
Seward ) Avery is a A Christmas Carol, and Sound—an ACTLab the Drum (Village Theatre). Claudine also
2018 ACT Core co-production with Azeotrope. Other Seattle works in film and television, starring most
Company Member. credits include The Merchant of Venice notably as Sherry O’Neil in the Netflix
Seattle credits include (Seattle Shakespeare Company), The Diary original series Everything Sucks! Nako
Pass Over, Oslo, of Anne Frank (Intiman), The Children’s is committed to supporting art that centers
The Crucible (ACT), Hour (Arouet), and The Turn of the Screw marginalized voices through dynamic
The Passage (Village Theatre), and Beatrice (Seattle Immersive Theatre). Further afield storytelling. Previously at ACT: Mary Warren
and Benedict (Seattle Opera). Select New she has appeared with Deaf West Theatre, in The Crucible, Colleen/Itchy in Mr. Burns,
York and Regional credits include the Coeurage Theatre Company, and Will A Post-Electric Play.
original cast of Coronado (written by Dennis Geer Theatricum Botanicum in Los Angeles.
Lehane, Invisible City); Measure for Measure, Lindsay attended Western Washington Brandon O’Neill
A Midsummer Night’s Dream, The Tempest University and when she’s not consorting (Count Dracula)
(Shakespeare Theatre Company); Straight with the undead, she works in development Brandon is a 2018
White Men, Hedda Gabler (Studio Theatre); at the University of Washington. She is Core Company
Romeo & Juliet, Cymbeline, Count of Monte proud to be a 2019 ACT Core Company Member and was
Cristo (Alabama Shakespeare Festival), member. Love, as ever, to Chad. seen last season at
Hamlet, Pride & Prejudice, The Importance ACT in Urinetown
of Being Earnest (Orlando Shakespeare
Basil Harris (Gregory Award Nomination) and Oslo.
(Renfield ) Basil most Broadway Credits include Disney’s Aladdin
Theatre); Hamlet, The 39 Steps, Henry V
recently appeared in (Original Broadway Cast); A Bronx Tale
(Arkansas Rep); Christmas Carol (Cincinnati
Seattle Shakespeare (First Replacement). World Premieres:
Playhouse); Journey’s End (Alley Theatre);
Company’s She Beatsville, First Date (Gregory Award
The Heidi Chronicles (St. Louis Rep); The
Stoops to Conquer Nomination), Ramayana (BWW Award,
Shape of Things (Premiere Stages); A
and as the evil Agatha Seattle Times Footlight Award), Saving
Midsummer Night’s Dream (Pennsylvania
Trunchbull in Matilda The Musical at Village Amy (Scandalous), A Christmas Story
Shakespeare Festival); and Rabbit Hole,
Theatre. He has performed locally on stage (World Premiere Cast Album). Select
The 39 Steps (Theatre Squared).
at Seattle Repertory Theatre, Seattle Regional: Cat on a Hot Tin Roof, Assassins,
Khanh Doan Children’s Theatre, Strawberry Theatre Pride & Prejudice, A View From the Bridge,
(Mina Murray) Khanh Workshop, and Empty Space Theater. Peter and the Starcatcher, Hunchback of
is thrilled to be part Regional credits include Little Shop of Notre Dame (Gregory Award Nomination)
of Steven Dietz’s Horrors and A Midsummer Night’s Dream Carousel, Pirates of Penzance (Gregory
new adaptation of at Ohio’s Tantrum Theater, Jane Eyre at Award Nomination), Guys and Dolls
Dracula! She is a 2017 Actors Express (Atlanta), and Robin Hood (Seattle Times Footlight Award), Rent,
ACT Core Company at New Victory Theater in NYC. He stars Rock of Ages, Candide. Seattle Symphony:
member and you may have seen her in King in the locally produced, original series Sondheim at the Pops (Conductor: Marvin
of the Yees, The Crucible, Ramayana and Rocketmen (now on YouTube and Vimeo) Hamlisch), Tribute to Marvin Hamlisch
A Christmas Carol. Most recently, she and Automata (available on the online sci-fi (Conductor: Larry Blank), Beatrice & Benedict
appeared in A Doll’s House, Part 2 at Seattle channel, Dust). Other film credits: Language (Seattle Opera). O’Neill voices the Cave of
Repertory Theatre. Other credits: The Little Arts, Safety Not Guaranteed, 21 and Over, Wonders in Disney’s Aladdin the Musical
Prince, Chitty Chitty Bang Bang, Peter Pan, Knights of Badassdom, and My Effortless worldwide, and the character of Prince
Sleeping Beauty (Seattle Children’s Theatre); Brilliance. Television credits include: Grimm Uldren Sov in Bungie’s video game franchise
A Tale for the Time Being (Book-it Repertory (NBC), Leverage (TNT), The Fugitive, and Destiny. Instagram: @brandononeillofficial
Theatre); Jesus Christ Superstar (Village The John Report with Bob (CBS). This is Twitter: brandon_onei11 or visit brandon-
Theatre); Miss Saigon (5th Ave Theatre); Basil’s first show at ACT. basilharris.com. oneill.com for more info.
encorespotlight.com A–7Who’s Who in Dracula
Arjun Pande Dietz’s thirty-plus plays and adaptations Theatre, Kansas City Repertory Theatre,
(Jonathan Harker) have been seen at over one hundred regional Children’s Theatre Company, and Childsplay
Arjun is so grateful to theatres in the United States, as well as Theatre. Matthew was a founding ensemble
be getting a second Off-Broadway. International productions member of Deus X Machina, and a longtime
chance to collaborate have been staged in over twenty countries, company member at Seattle’s Annex Theatre.
with playwright Steven including recently in Brazil, Thailand, South Matthew teaches at Cornish College of the
Dietz after recently Africa, Estonia and Iran. His work has been Arts and received his MFA from the UW
playing the role of “J” in the world premiere translated into a dozen languages. Recent School of Drama.
of Dietz’s The Ghost of Splinter Cove in world premieres include This Random
Charlotte, North Carolina. Closer to home, World (Humana Festival of New American Deborah Trout (Costume Designer) a
you may have seen Arjun on one of ACT’s Plays); Rancho Mirage (Edgerton New Play Northwest designer, her recent work with
stages as Humayun in Guards at the Taj, or as Award); On Clover Road (NNPN “rolling John Langs includes ACT’s The Crucible and
part of the The Great Soul of Russia Reading world premiere”); and his interlocking plays Mr. Burns, A Post-Electric Play, and their
Series with The Seagull Project and ACTLab. for adult and youth audiences (The Great collaboration on Seattle Opera’s Beatrice and
In Seattle, he has performed repeatedly at Beyond and The Ghost of Splinter Cove) Benedict. Other highlights include Seattle
Book-It Repertory Theatre, Seattle which premiered in Charlotte, NC earlier this Opera’s The Turn of the Screw; Seattle
Shakespeare Company, Seattle Public year. His latest thriller, How a Boy Falls, will Repertory Theatre’s A Doll’s House part 2;
Theater, and Washington Ensemble Theatre. premiere at Northlight Theatre, Chicago, in Arizona Theatre Company’s Native Gardens;
If you would like to know which shows you 2020. A two-time winner of the Kennedy Alice Gosti’s durational piece How to
might have seen him in, be sure to ask him. Center Fund for New American Plays Award Become a Partisan at St. Mark’s Cathedral; A
Arjun is a lover of games and thunderstorms, (Fiction, Still Life with Iris), Dietz received the Year with Frog and Toad at Seattle Children’s
and when he isn’t performing, he climbs PEN USA West Award in Drama for Lonely Theatre; and Portland Center Stage’s
mountains, plays with cats, and tries to figure Planet, and the Edgar Award® for Drama Cyrano with Seattle’s Jane Jones. Theatres
out the secrets of the universe. He is a proud for Sherlock Holmes: The Final Adventure. include: Actors Theatre of Louisville, The
graduate of Brown University and his favorite Other widely produced plays and adaptations Alley Theatre (Houston), Alliance Theatre
animal is the dragon, but above all else, he is include Yankee Tavern, Last of the Boys, (Atlanta), Denver Center Theatre Company,
glad you are here—thank you for coming. Private Eyes, Jackie & Me, Paragon Springs, The Fifth Avenue, Intiman Theatre, Children’s
American la Ronde, Inventing Van Gogh, and Theatre Company (Minneapolis), Oregon
Shakespeare Festival, Perseverance Theatre
CREATIVE TEAM: The Nina Variations. Currently a Dramatists
Guild “Traveling Master,” Dietz teaches (Juneau), Shakespeare Santa Cruz, Syracuse
workshops in playwriting, storymaking, and Stage, and Yale Repertory Theatre. Ms. Trout
John Langs (Director) John has been
collaboration across the U.S. He and his wife, co-founded the New York millinery company
delighted to serve ACT as Artistic Director
playwright Allison Gregory, divide their time Mackey and Trout, holds an MFA from the
since 2016, and previously as Associate
between Seattle and Austin. Yale School of Drama, is a member of United
Artistic Director for three years. Before ACT,
Scenic Artists, and teaches design at the
John’s freelance career afforded him the
opportunity to work with many prestigious
Matthew Smucker (Scenic Designer) is University of Washington.
pleased to return to ACT, where previous
theatre companies across the country. He has
designs include The Crucible, The Legend Andrew D. Smith (Lighting Designer)
directed productions at Playwrights Horizons
of Georgia McBride, Mr. Burns, A Post- Andrew is a Seattle-based Lighting Designer,
NY, Ensemble Studio Theater NY, Milwaukee
Electric Play, The Invisible Hand, Eurydice, most recently lighting Pass Over and Tribes
Repertory Theatre, Lookingglass Theater
The Pillowman, The Clean House, and The at ACT. National credits include: Native
Company in Chicago, Circle X in Los Angeles,
Women, among many others. His work Gardens (Arizona Theatre Company) , The
The Resident Ensemble, New Century
has appeared locally at The 5th Avenue Diary of Anne Frank (Indiana Repertory
Theatre Company, Washington Ensemble
Theatre (Rock of Ages, Man of La Mancha, Theatre), Cornerstone Theatre Company,
Theatre, and Seattle Shakespeare Company.
Elf, Oklahoma!, Candide), Seattle Repertory Flint Youth Theatre, Horizon Theater
John received his directing degree from the
Theatre (Dry Powder, Who’s Afraid of Virgina Company, Cincinnati Shakespeare Company,
University of North Carolina School of the
Woolf?, Three Tall Women, Circle Mirror Roust Theater, and Cardinal Stage Company.
Arts. As a dedicated fan of original work,
Transformation), Seattle Opera (Beatrice Locally his work has been seen at Seattle
John has shepherded over a dozen projects
and Benedict), Village Theatre (Matilda Repertory Theatre, Seattle Children’s
to their premieres.
The Musical, Into the Woods, Cabaret, Theatre, Book-It Repertory Theatre, Seattle
Jesus Christ Superstar), Strawberry Theatre Shakespeare Company, New Century Theatre
Steven Dietz (Playwright) Steven Dietz
Workshop, Seattle Children’s Theatre, Company, Washington Ensemble, Azeotrope,
is honored to return to ACT with Dracula,
Intiman, New Century, Book-It Repertory Strawberry Theatre Workshop, Seattle Public
which marks his twelfth play (and seventh
Theatre, Empty Space, and Tacoma Actors Theatre, Theater Off Jackson, ArtsWest,
world premiere) to be produced at the
Guild; and nationally at The Denver On the Boards, Velocity Dance Center, and
theatre since 1988. Other world premieres
Center for the Performing Arts, Paper Mill Broadway Performance Hall. Andrew holds
at ACT include Bloomsday (Steinberg New
Playhouse, Theatre Under the Stars, Arizona a BA from Duke University and an MFA from
Play Award Citation), Becky’s New Car
Theatre Company, Portland Center Stage, the University of Washington, where he
(Steinberg New Play Award finalist), and his
Artists Repertory Theatre, San Jose Repertory currently teaches.
widely produced docudrama, God’s Country.
A–8 ACT – A Contemporary TheatreWho’s Who in Dracula
Robertson Witmer (Sound Designer, Theatre and Seattle Children’s Theatre. Her
Composer) Rob’s previous shows at ACT Shakespeare work includes dialect coaching PATRON INFORMATION
include Romeo + Juliet, The Wolves, Skylight, at Oregon Shakespeare Festival, Utah
and Daisy. Other recent credits include Uncle Shakespearean Festival and Shakespeare &
Emergency Evacuation Procedures
Vanya, The Cherry Orchard (The Seagull Company. As an actor, she was last seen in In the event of an emergency, please wait for
Project); Richard III, Timon of Athens, Bring My Antonia at Book-It Repertory Theatre. an announcement for further instructions.
Down the House (Seattle Shakespeare Judith retired Emerita from the University of Ushers will be available for assistance.
Company); Ironbound, Hand to God (Seattle Washington School of Drama, but still teaches
Public Theater); The Ghost of Splinter Cove internationally in Mexico, Scotland, and most Emergency Number
The theatre’s emergency number in the Union
(Children’s Theatre of Charlotte); and Strange recently in Brazil.
lobby is 206.292.7667. Leave your exact seat
Fruit (Spectrum Dance Theater). His sound location with your emergency contact in case
designs have also been heard at Seattle Erin B. Zatloka (Stage Manager) Erin is
they need to reach you.
Repertory Theatre, Intiman Theatre, Village glad to be back at ACT, where she last stage
Theatre, and Teatro ZinZanni. Rob composed managed Until the Flood. Most recently Smoking Policy
music for Black Beauty, and The Miraculous Erin worked at The 5th Avenue Theatre as Smoking is NOT allowed in any part of the
Assistant to the Stage Manager on West Side theatre or within 25 feet of the entrance.
Journey of Edward Tulane (Seattle Children’s
Theatre); and has been seen onstage in Story and Annie. Nothing in her life could
Firearms Policy
Mr. Burns, A Post-Electric Play (ACT); A happen without family and friends. Love to No firearms of any kind are allowed in any part
Doctor in Spite of Himself (Intiman Theatre, Greg and Zoey. of the theatre.
Yale Rep); and Go, Dog. Go! (Seattle
Ruth Eitemiller (Stage Manager) has worked Food
Children’s Theatre). Upcoming projects
on many shows at ACT since interning here Food is not allowed in the theatre. Tuxedos &
include Greenwood (Alvin Ailey American Tennis Shoes is the exclusive caterer of ACT.
over ten years ago; some recent productions
Dance Theater) and The Best Summer Ever!
include The Year of Magical Thinking,
(Seattle Children’s Theatre). Rob plays with Accessibility
Romeo + Juliet, Oslo, A Christmas Carol, and ACT offers the Figaro MobiTxt® Closed
several bands, including The Love Markets,
The Crucible. Other recent Seattle credits Captioning System for audience members who
Awesome, and the Toucans steel drum band.
include The Picture of Dorian Gray with are Deaf / Hard of Hearing (HH). This system
Rob is a Part-time Lecturer at UW School
Book-It Repertory Theatre (directed by Victor is offered at multiple performances for each
of Drama, and a member of United Scenic production. Devices can be requested upon
Pappas), Patti and the Kid with Frank Boyd &
Artists, Local USA-829. arrival at the theatre. ACT is also equipped
Libby King, (On the Boards) and NextFest 2018
with the Williams Sound® Audio Equipment,
Geoffrey Alm (Fight Director) is pleased to with The 5th Avenue Theatre. Ruth is the
which amplifies stage sounds with the aid
be returning to ACT to be a part of Dracula. recipient of the 2018 Melissa Hines Backstage of headsets (ask staff for assistance). ASL
His work was last seen in Romeo + Juliet, Award and is proud to have been a company interpreted performances for the Mainstage
Oslo, Dangerous Liaisons, The Mystery of member and production manager with Season are offered at least once per play (check
New Century Theatre Company where she the website or contact the Ticket Office for ASL
Love & Sex, and Assassins (ACT). Recent
helped create such shows as Mary’s Wedding, dates). Wheelchair seating is also available.
local work includes Romeo & Juliet (Seattle
Shakespeare Company); Indecent and As The Trial, and The Adding Machine.
Lost & Found
You Like It (Seattle Repertory Theatre); and Call 206.292.7676 between 12:00pm and
SPECIAL THANKSto Victor Moray 6:00pm, Tues–Sun.
Carmen and Rigeletto at Seattle Opera.
(Fang Specialist), Goldie and Don Silverman,
National credits include work at The Old
American Conservatory Theatre, Guthrie Address & Website
Globe, Shakespeare Theatre Company,
Theater, Oregon Shakespeare Festival, St. Louis ACT is located at
Shakespeare Santa Cruz, Arizona Theatre 700 Union Street, Seattle, WA 98101.
Repertory Theatre, Seattle Repertory Theatre,
Company, and Kansas City Repertory Ticket Office Phone: 206.292.7676.
and UW School of Drama. Steven Dietz thanks
Theatre. Mr. Alm teaches stage fighting Administrative Office Phone: 206.292.7660.
Bob Wright who was crucial to development
at Cornish College for the Arts, the UW Fax: 206.292.7670.
of this version of Dracula. Website: www.acttheatre.org.
Professional Actor Training Program, and
Freehold Theatre Lab. He is a Fight Master
ACT operates under agreements with Theatre Rental
with The Society of American Fight Masters, For information regarding booking,
and a proud member of SDC. the following:
contact events@acttheatre.org.
Judith Shahn (Dialect Coach) began Group Sales
dialect coaching at ACT thirty years ago Groups of 10 or more can save.
and has coached dozens of shows over Call 206.292.7674 or
email groups@acttheatre.org.
the years. Most recently at ACT: Oslo,
Skylight, Tribes and A Christmas Carol. Other P lease be considerate and keep personal
dialect coaching credits include: Porgy and This theatre operates under an agreement
fragrance to a minimum.
Bess (Seattle Opera), Angels in America between the League of Resident Theatres
and Actors’ Equity Association, the Union of
(Intiman Theatre—including the revival) ,
Professional Actors and Stage Managers in
A View from the Bridge ( Seattle Rep), as the United States.
well as productions at Book-It Repertory
encorespotlight.com A–9AC T
be a 2020 act sponsor
show sP onsoR
PRogR a m sPons o R EVENTS
When you host your
event at ACT, you are
ev ent sP onsoR
supporting the art we
create!
Did you know that ACT is home
to 8 different venues, including
our theaters – all of which are
available to rent?
Our selection of versatile and
unique spaces is perfect for
company meetings, seminars,
holiday parties, and more!
DONʼT MISS
YOUR OPPORTUNITY
TO HOST A GREAT
HOLIDAY PARTY!
is the exclusive caterer
for ACT Events
PaRt ne Rs hi P • Communit y givin g • o P P oRtunit y
ContaCt Buy group tickets to
A Christmas Carol and receive
development@acttheatre.org
a 20% venue rental discount.
foR moRe infoRmation
Email us at events@acttheatre.org
Photo by Rosemary Dai Ross
to learn more.
A–10 ACT – A Contemporary Theatreproducers CIRCLE
Visionary Producers ACT partners
Nancy D. Alvord *^~
Leslie Ray & Michael Bernstein *
BE A part OF THE art
Katharyn A. Gerlich *^ act graciously thanks and recognizes the many
Gary & Parul Houlahan *^ individuals and families investing in our mission.
True-Brown Foundation ^ our community and cultural life are better for your
Chuck Sitkin *^ participation. your continued generosity inspires
and motivates — ThAnk you!
Luminary Producers
Chap & Eve Alvord
Brad & Linda Fowler *^
executiVe Producers
Elias & Karyl Alvord
James Degel & Jeanne Berwick
Jean B. Falls *
Eric & Margaret Rothchild ^
Gian-Carlo & Eulalie Scandiuzzi ^
Donald & Goldie Silverman ^
Photo by Chris Bennion
Anonymous
creatiVe Producers
Larry & Joan Barokas ^ Lawrence & Mary Ellen Hughes Douglas & Nancy Norberg
Dr. Eric Bennett ^ Ted & Linda Johnson George & Linda Ojemann
Allan & Nora Davis ^ Patricia Daniels & Bill Kuhn *^ Deborah Person
Justin & Delaney Dechant Gregory & Diane Lind ^ Sarah Pierre-Louis
Cherry Tinker & Bob Dowdy David Litwack Douglass & Katherine Raff ^
Dr. Tove Ryman & Rayner D’Souza Jim & Cheri Minorchio Teresa Revelle *
Charles T. Fitzgerald *^ Furman & Susan Moseley Nicholas & Yvonne Roberts
Ira & Courtney Gerlich Tim Mulligan & Sean Murphy Dr. Larry Hohm & Karen Shaw ^
Ellen & John Hill Erika J. Nesholm Fred Stark
Cynthia Huffman & Ray Heacox Dr. Arnie & Judy Ness *^ David & Shirley Urdal ^
sustaining Producers
Eric Taylor & Sheena Aebig Natalie Gendler ^~ Angela Stowell
Allan & Anne Affleck ^ Norman & Lisa Judah Ethan Stowell
Jack Lauderbaugh & Laurie Besteman *^ Eugene & Donna Mikov Jean Walkinshaw
Peter & Fran Bigelow ^ Judith & Ben Simmons
This list reflects donations made to the Annual Fund between January 1, 2018 and December 31, * ACT Legacy Society member
2018. ACT works to maintain our list of donors as accurately as possible. We apologize for any
misspellings or omissions. Should you find any, please contact our office so that we may correct any ^ ACT for the Future donor
mistakes in future publications. Email development@acttheatre.org or call 206.292.7660 x1330. ~ Deceased
encorespotlight.com A–11ACT partners
BE A part OF THE art
act graciously thanks and recognizes the many individuals
and families investing in our mission. our community and
cultural life are better for your participation. your continued
generosity inspires and motivates — ThAnk you!
Photo by Chris Bennion
actors CIRCLE
Benefactors
Warren & Anne Anderson Lori Eickelberg Dana & Nicholas Masington Shelley Schermer
Walter & Melinda Andrews Eleanor & Jeff Freeman Richard & Leanne Reel Vijay & Sita Vashee
Sonya & Tom Campion Denise & David Foster Vishal Nigam & Carrie D. Rhodes Jean Viereck
Sallie Chaney James & Barbara Heavey Jean A. Rhodes
Michael Crystal Norma & Leonard Klorfine Donald & Jo Anne Rosen
Stephen & Kathy Dewalt Jane & James Lyons ^ Faye Sarkowsky
imPactors
Shawn Aebi Anne Middleton Foster John & Laurel Nesholm Robert Elliot & Margaret Taylor
Kermit & Danna Anderson ^ Julia & Michael Herschensohn Judy G. Poll Nancy & David Thacher
Kendall & Sonia Baker Dale & Donna Holpainen Suzanne Ragen ^ Jim & Kathy Tune
Rebecca Benaroya Dan & Connie Hungate Ken Ragsdale Judith Warshal & Wade Sowers *
Alan & June Brockmeier Howard Wright III & Kate Janeway Evelyne Renee Rozner Nicholas Hart & Jennifer Weis
Patricia & Theodore Collins Brad Edwards & Karen L. Koon Barry & Colleen Scovel ^ Mary & Donald Wieckowicz
Dennis & Deborah DeYoung Ann McCurdy & Frank Lawler Warren & Nancy Smith Kathy & Chic Wilson
Susan L. Ehlers Naomi & Yoshi Minegishi Rose and the late John Southall *
Patricia Fearey Mark & Susan Minerich Ron & Carol Sperling
Richard, Angela & Ian Finlay Sally A. Nelson Tammy Talman
actiVists
Ali & Robert Alexander Ellen Le Vita & Craig Davis John Langs * Donald Pogoloff
Tatum Kerr & John Archer Kathy & Don Decaprio John O’Connell & Joyce Latino Ann Ramsay-Jenkins
Marge & Dave Baylor Susan & Lewis Edelheit Randy Lee & Mari Hooten Lee Joe Schwartz
Susan Leavitt & William Block Gary & Penny Ferguson Barrie Carter & Eileen Lennon Don Ferguson & Sheila Smith
Corinne A. Campbell Dr. William Calvin & Alice Mailloux Mark & Arlene Tibergien
Frank & Denise Catalano Dr. Katherine Graubard David Mattson * Mary Lou & Dirk Vanwoerden
Dennis & Aline Caulley Rhonda & Jim Greer Marcella McCaffray George & Colleen Willoughby
Cecilia Cayetano Margaret Haggerty James & Nancy McMurrer Rebecca & Rob Witmer *
Thompson & Karen Challinor Ross & Kelsey Henry Franny & Casey Mead Kyoko Matsumoto Wright
Hugh & Suzanne Clark Stephanie M. Hilbert *^ Sarah B. Meardon Ann P. Wyckoff
Clement Family Foundation Sara C. Hoppin Dale Brown & David Moss Anonymous
Trevor Cobb ^ Dr. Grady & Heather Hughes Beth Amsbary & James Nichols
Todd & Sylvie Currie Keith Schreiber & Clare Kapitan Chris & BJ Ohlweiler
A–12 ACT – A Contemporary Theatreplayers CIRCLE
Lead PLayers
Aaron Anderson Eric Mattson & Carla Fowler Paul & Linda Larson Catherine & Thurston Roach
Mary Ann Dot Fuller Thomas & Rhoda Lawrence Michelle & John Rosenthal
Jean-Loup & Diane Bae Terry Gaddis & Lucy Gaskill-Gaddis Steven & Anne Lipner Barbara Sando
Don Beaty Sergey Genkin Hector Lizardi Harold Sanford
Hugh & Rebecca Bergeson Hellmut & Marcy Golde David Longmuir Patrick & Karen Scott
Philip Brazil Constance Gould Theodore & Mary Ann Mandelkorn Kathryn Shields
Judith Frey & Flick Broughton Erin West & Matt Grabowski Marcella McCaffray Barbara & Richard Shikiar
Bruce T. Burger Robert Greco Janet Westin & Mike McCaw Mika & Jennifer Sinanan
Maxwell & Mindy Cameron Vera Kirichuk & Alexander Grigorovitch Carol McDonald Ronald Spaulding
Sandra & C. Kent Carlson Lawrence & Hylton Hard John & Gail Mensher Francia Russell & Kent Stowell
Alicia & Jeffrey Carnevali Dr. Benson Harer Nancy & Charles Mertel Isabel & Herb Stusser
Michael Moody & Martha Clatterbaugh Diana & Peter Hartwell Susan Trapnell & Erik Muller John & Barb Sutherland
Ken & Sharon Clay Jill & Rodney Hearne Mary Ann & Bill Mundy Norm & Lynn Swick
Kimberly & Peter Cleworth Heinrich-Dahlheimer Donor Advised Fund Lauren Mikov & John Muhic Judith Jesiolowski & David Thompson
Susan Colligan Marjorie K. Hemphill Craig & Deanna Norsen Timothy Tomlinson
Robert Coneybeer Ronnie Henderson Kristin Olson Andrea & Bob Watson
Jamila Conley F. Randall & Barbara Hieronymus Cynthia & Bruce Parks Eric Weber
Carl Bunje & Patricia Costello Sara C. Hoppin Harry Reinert & Cecilia Paul Matt Aalfs & Alys Weinbaum
Kristen Crider Cheri Brennan & Tom Horsley Dr. Greg Perkins Nancy Weintraub
Janice Dilworth & Greg Denton Susan & Philip Hubbard Chuck Perry Jay & Linda Willenberg
Kathleen Smith-Dijulio & Don Dijulio C. David Hughbanks Andrea Rabinowitz Robert Kakiuchi & Keela Williams
Hal Opperman & Jolynn Edwards Steven & Patricia Kessler Matthew & Linda Radecki Barbara J. Williams
Joanne R. Euster, Ph.D Annemarie Riese & Terry Kisner David Ragozin Dianne & Douglas Wills
Teresa Irene Ferguson Jim & Jean Kunz Connie Redmond Scott & Shirley Wilson
John Aylward & Mary Fields Kristen Lance Cecilia Paul & Harry Reinert Diane & John Yokoyama
Carol Finn Max & Shawn Langley Cindy & Lance Richmond Anonymous
THE act legacy society
ACT patrons who continue to support and ensure the ongoing tradition of presenting the best contemporary theatre for future generations
through estate planning, wills, and living trusts. Investments of all sizes can make significant future gifts by using tax-advantaged
estate and financial planning options. Specific areas where ACT can benefit from your legacy are scholarships, endowments, capital
projects, or operating costs. Questions or arrangements can be discussed with our Development Department at 206.292.7660 x1330.
Ellsworth C. Alvord Jr. Trust Stephanie Hilbert Dr. Arnie & Judy Ness
Leslie Ray & Michael Bernstein Gary & Parul Houlahan Don Paterson
Laurie Besteman Suzanne Howard Lisbeth Pisk
Philip Brazil Ed Hutsell & Kathy Whitten Teresa Revelle
Marite Butners H. David Kaplan Chuck Sitkin
Jean Chen Carolyn Keim & Connie Rinchiuso GregRobin Smith
Linda J. Clifton Bill Kuhn & Patricia Daniels Rose & the late John Southall
James C. Egbert David Mattson Judith Warshal & Wade Sowers
Jean Burch Falls Mike McCaw & Janet Westin Dorothy E. Wendler
Charles Fitzgerald Catherine & Barry McConnell Normon & Karyl Winn~
Linda & Brad Fowler Stephen McCoy & Larry Henderson Rebecca & Rob Witmer
Tal & Carol Godding Norman D. Miller~ John Langs
encorespotlight.com A–13ACT partners
BE A part OF THE art
ACT gratefully recognizes the following corporations, foundations,
government, and media agencies for their generous support
of our 2019 programs. This funding from our community supporters
enables ACT to offer outstanding contemporary theatre for many
audiences, educational programs for a variety of student participants,
and our continued theatre partnerships in ACTLab.
Photo by Rosemary Dai Ross
2019 season sponsors PLatinum circLe Partners | $50,000+
ArtsFund
The Shubert Foundation
Seattle Office of Arts and Culture
goLd circLe Partners | $25,000–$49,999
4Culture
The Ginger & Barry Ackerley Foundation
The Boeing Company
John Graham Foundation
The William Kenan Charitable Trust
National Endowment for the Arts (NEA)
Nesholm Family Foundation
siLVer circLe Partners | $10,000–$24,999
ArtsWA — WA State Arts Commission
act for the future The Elizabeth George Foundation
Freestone Capital Management
Grousemont Foundation
Harvest Foundation
HomeStreet Private Bank
Microsoft
Wyman
The Morgan Fund at Seattle Foundation
Youth Trust Peg & Rick Young Foundation
Treeline Foundation
Tuxedos & Tennis Shoes +
thanK you to our dracula shoW sponsors Bronze circLe Partners | $4,000–$9,999
Ameriprise Financial
Cortina +
Fox Rothschild LLP
The Lester & Phyllis Epstein Foundation
The Morgan Fund McEachern Charitable Trust
at Seattle Foundation Precept Wine+
coPPer circLe Partners | $1,000–$3,999
Badgley Phelps Wealth Managers
City of Burien — Cultural Arts Division
Clark Nuber, P.S.
The Commerce Bank
2019 media sponsor F5 Networks
Fales Foundation
Jeffris Wood Fund
Italics indicate 10+ years of support | + indicates in-kind support Wyman Youth Trust
A–14 ACT – A Contemporary Theatrem at c h i n g g i f t s F O R AC T
did you know you can douBLe or triPLe your contriBution to act with a match
from your emPLoyer, increasing the imPact of your suPPort?
Many Puget Sound employers match gifts to 501(c)3 nonprofits; ACT receives matching gifts from Boeing,
Gates Foundation, Microsoft, Realnetworks, and Tableau to name just a few. Please check with your
employer to see if you can increase your gift to ACT with a corporate match.
ACT Trustee Rayner D’Souza and his wife Tove Ryman are generous and savvy Annual Fund
donors who have their contributions matched by their employers, more than doubling their gifts.
We’re pleased to share excerpts from an interview with Rayner about why he invests in ACT.
who do you attend act with?
Mostly with Tove, but we bring friends who are interested in the
play we are going to see.
do you remember the first play you and tove
attended together?
Invisible Hand
what’s your favorite pre-performance snack?
Rayner D’Souza Pre-performance — spaghetti at Cortina or sushi at Japonessa.
and Tove Ryman
two miles into their what recent act play has inspired the most
375 mile walk on conversation afterwards?
The Camino de
Santiago.
Passover — It gave a unique perspective about being a person
of color in uS. I often now ask the question “could race have
been a factor”? It also brought into perspective “white privilege”
what’s your favorite play of all time at act?
and made us conscious to so many institutions with racists pasts.
one of my first plays at ACT was In the Next Room (2009). It’s
Eg: FhA.
difficult to choose a favorite play among so many good ones. But
another one that stands out is Invisible Hand by Ayad Akhtar. I did a play ever change your perspective on
also like many of yussef El Guindi’s plays. (Threesome, Language something? if yes, what play?
Rooms and People of the Book). The obstacles faced by people who are hearing impaired never
crossed my mind and Tribes made me aware of these obstacles.
why do you donate to act?
I believe in the organization. ACT pushes the conversation…I have you ever attended an actLab performance?
often think about and relive a play for days after. A play can yes. Several. I have an ACTPass which I love. It allows us the
change you, sometimes a play can stay at the back of your mind flexibility to pick a play and we don’t care which seats we get
and can inform your actions, convictions. A play that comes because there are no bad seats at ACT. ACT is such an intimate
to mine is Hold These Truths about the internment of Japanese theatre with the furthest row being like 9 rows in. So the Pass is
Americans. I want to support this. It’s why we donate to ACT. perfect. ACTLab performance that stands out was Dance Like a
Man by Pratidhwani.
have you ever been in a play?
I don’t want to relive that! I was a deer-in-the-headlights and what do you consider your hometown?
forgot my lines — think I was in 3rd or 4th grade and was the Seattle. It’s the longest I have spent in any one city and the city
recreation of the nativity scene around Christmas. I identify with. It just feels like home (rain and everything).
Questions about matching gifts? Contact ACT’s Development team at 206.292.7660x1330
or email us at development@acttheatre.org. Thank you for your support!
encorespotlight.com A–15You can also read
